Top albums of 2020
2020 was ruthless. That being said, the inner tumult of 2020 allowed us to come to terms with our emotional side and embrace the arts with a new-found attention. As such, I’ve picked out the albums that moved me the most in a year about not moving. Although not all released in 2020, each album had a profound effect on me this year, and as I always love finding out what makes musician’s tick, I thought to share some of my own.
Hounds of Love (1985) - Kate Bush
Okay, so I have to admit that I did not discover this album in 2020. Nonetheless, deciding to hear it anew during the lockdown left me compelled at a deeper level than before, and so for that it makes the cut. On Hounds of Love, Kate Bush combines intellect with emotional mastery, a skill that permeates through the work from its intricate instrumentals and evocative lyrics. With such abstract stories as that on “Cloudbusting” to the chilling narrative of drowning told on in the records latter half, Bush combines her wailing vocals with weeping synthesisers and detailed samples. While Hounds of Love proves the Kent-born artists ability to mesmerise with dreamy suites, it also displays her untamable power of expression, sometimes at the detriment of pure vocal technique, but in favour of a thrilling performance.
Favourite track: “Running up that Hill" (A Deal with God)”
Origin of Symmetry (2001) - Muse
It’s not often that revisiting an album from one’s emo years causes a frenetic frenzy of note-for-note transcribing and manic listening - but blame it on the lack of mental stimuli, I was in it. The thing about Origin of Symmetry is it’s just so goddamn good; compositionally masterful, the band integrates crunchy guitar hooks that Tom Morello would envy before shifting into synthesised choruses that place Chopin in the modern (dystopian) age. Not only this, but the technical abilities of the performers are oustanding, particularly Matt Bellamy, who can just as easily weave Romantic-era piano lines into distorted lyrics of futurism spat through a quaking falsetto (see the track “Micro Cuts” to catch the frontman’s vocal expertise). All this combined leaves you with an album that bites, while simultaneously drawing you in for more.
Favourite track: “Plug-In Baby”
From a Distance (2020) - Katarzyna Wiktorski
I am definitely biased on this one. But when talking about musical story-telling, especially in an age of isolation, Melbourne’s Katarzyna Wiktorski is an expert. From a Distance utilises sounds from post-bop jazz through to Impressionistic classical music to speak in a language that is universal - about grief, solitude, rage and its aftermath. From clustered strings to driving solo sections, Kat has established a sound unique to her that challenges expectations of chamber jazz and contemporary music alike.
Favourite track: “Pique & Peace”
Fetch the Bolt Cutters (2020) - Fiona Apple
Perhaps my most anticipated album of this year, Fetch the Bolt Cutters did not disappoint in packing Apple’s signature unbridled flair and then some. The circular motif of schoolyard chants gives the album a hypnotic listenability, where the whole work seems to cycle in upon itself to warrant a second listening immediately after the first. The repetition of lyrics alongside Apple’s signature winding piano figures invoke the listener’s own internal monologue as it tumbles through thoughts of self-reflection and dark humour, which Apple so expertly delivers. Apple juxtaposes this humour with lyrics that stare down social issues, particularly those regarding women and sexual violence, without restraint and without fear in what is sure to be a modern classic in years to come.
Favourite track: “Heavy Balloon”
Potro de Rabia y Miel (1992) - Camarón de la Isla
This album speaks for itself. Recorded at the end of the iconic flamenco singer Camarón de la Isla’s life, this venture is as heart-wrenching as it is virtuosic. Lyrically, the record is moving and personal, however it is compositionally where Potro de Rabia y Miel wows, smashing through unexplored flamenco territory while still maintaining the purity of the genre. Performances from guitarists Paco de Lucia and Tomatito are enough to clench listeners attention, but it is Camarón who pierces my heart with vocals that soar above what I thought was even possible in the male voice. His range, his familiarity with his instrument, and his freedom are what established the icon status of Camarón; and for good reason. For me, this album is the bravest testament of his genius.
Favourite track: “Potro de Rabia y Miel”
Live… One Summer Night (1984) - Paco de Lucía Sextet
Undoubtedly my favourite of this entire list, partially because of the manic overdrive it pushed me into, partially for the flute melodies I find myself shouting at full volume in the car, this album stands as one of the greatest examples of ensemble playing I´ve encountered. Whether a flamenco aficionado or not, the unstoppable grooves of this album are enough to lift anyone onto their feet as the sextet drives through some of Paco and brother Pepe’s most notable compositions. In addition to the flawless ensemble playing, the sextet machine idles at times to highlight the instrumental mastery of its players in solo improvised sections that are sure to captivate all audiences. Most importantly, and perhaps as the album was recorded on the band’s home soil, is its infusion of energy that launches this album to the top (metaphorically) of my list for this year.
Favourite track: “Palenque”
